Born in Pasadena, California, in 1948
Lives in New York City

Education

1980    California Institute of the Arts, Valencia, CA; MFA
1970    University of California at Berkeley, Berkeley, CA; BA

One-Person Exhibitions

2007    Richard Telles Fine Art, Los Angeles
             “B. Wurtz: Photo/Objects,” 871 Fine Arts, San Francisco

2006    The Suburban, Oak Park, IL
             Feature Inc., New York

2003    Feature Inc., New York

2001    Feature Inc., New York

2000    “B. Wurtz: 70+30=2000,” Gallery 400, University of Illinois at Chicago (catalogue)
             Richard Telles Fine Art, Los Angeles
             “buttons. part 1,” Feature Inc., New York
             “buttons. part 2,” Feature Inc., New York

1999    Salle de Bains, Rotterdam
             Spak, Umeå, Sweden

1998    Feature Inc., New York

1997    Feature Inc., New York
             Richard Telles Fine Art, Los Angeles

1996    Ynglingagatan 1, Stockholm

1995    “Mandalas,” Feature Inc., New York

1993    “Daily Life, 1970–1993,” Feature, New York (catalogue)

1992    Feature, New York

1991    Feature, New York

1990    “Life,” Feature, New York

1989    “Survival,” Feature, New York

1988    Bess Cutler Gallery, New York

1987    Feature, Chicago
             Bess Cutler Gallery, New York

Selected Group Exhibitions

2007    “Chistopher Knowles and B. Wurtz,” Allston Skirt Gallery, Boston; curated by Matthew Higgs
             “Open End,” Kinkead Contemporary, Culver City, CA; curated by David McDonald
             “You Always Move in Reverse,” Leo Koenig Inc., New York; curated by Bjarne Melgaard

2006    “B. Wurtz, Christopher Knowles,” Herald Street Gallery, London
             “The Chair, Reconsidered,” Sun Valley Center for the Arts, Sun Valley, ID
             “Eldorado,” Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Luxembourg
             “Dereconstruction,” Barbara Gladstone Gallery, New York; curated by Matthew Higgs

2005    “Looking at Words,” Andrea Rosen Gallery, New York; conceived by Barbaralee Diamonstein-                       Spielvogel
             “The O Show,” Shore Institute of the Contemporary Arts, Long Branch, NJ; Kresge Foundation                       Gallery, Ramapo College, Mahwah, NJ (2006); curated by MatCH-Art
             “Studio: Seven Months of My Aesthetic Education (Plus Some) NYC Version and Climaxed,”
                      Metropolitan Museum of Art, New York; Musée d’Orsay, Paris (web catalogue)
             “The sun rises in the evening.,” Feature Inc., New York

2004    “Word of Mouth, A Selection: Part 1,” Dinter Fine Art, New York
             “Curious Crystals of Unusual Purity,” P.S.1 Contemporary Art Center, Long Island City, NY;                       organized by Bob Nickas and Steve Lafreniere

2002    “All That Glitters,” Islip Art Museum, East Islip, NY; curated by Karen Shaw (catalogue)
             “GTt2,” Yerba Buena Center for the Arts, San Francisco; curated by ANP (catalogue)

2001    “Sharon Kaitz/B. Wurtz,” Allston Skirt Gallery, Allston, MA
             “Double Visions,” Adam Baumgold Gallery, New York
             “Texty,” M du B, F, H & g, Montreal
             “W,” Museé des Beaux-Arts, Dole, France; curated by Robert Nickas (catalogue)
             “Not a. Lear,” Gracie Mansion Gallery, New York; Allston Skirt Gallery, Boston, MA;
                      curated by ANP
             “Een Goed In De Weg Staande Tafel,” Galerie van Gelder, Amsterdam; curated by Jack Jaeger

2000     “Bubbles,” Center for Contemporary Non-Objective Art, Brussels; curated by Edith Doove                       (catalogue)
             “3ness,” Museum Dhondt-Dhaenens, Deurle, Belgium; curated by Edith Doove, Dike Blair,
                      and Jimi Dams
             “Not a. Lear,” Torch, Amsterdam; Art Process, Paris; Galerie S. & H. De Buck, Ghent, Belgium;
                      curated by ANP

1999    “Would have had.,” Cabinet, London
             “Cookie Snow Feature,” Cokkie Snoei, Rotterdam
             “Pretty Happy Painting (with Michael Lazarus and David Moreno),” M du B, F, H & g, Montreal
             “Sticker Shock: Artists’ Stickers,” Institute of Contemporary Art, Philadelphia (catalogue)
             “Surface As Structure,” Claremont Graduate University, Claremont, CA; curated by Sue Spaid                       (catalogue)

1998    “Word Perfect,” Gallery 400, University of Illinois at Chicago
             “f.i.s.t.,” ANP, Antwerp, Belgium
             “Science,” Feature Inc., New York
             “Opens,” M du B, F, H & g, Montreal

1997    “Fake Ecstasy With Me,” Museum of Contemporary Art, Chicago
             “Normotic,” One Great Jones, New York; curated by David Humphrey
             “At the Threshold of the Visible: Minuscule and Small-Scale Art, 1964-1996,” Herbert F.
                      Johnson Museum of Art, Cornell University, Ithaca, NY; Maryland Institute College of
                      Art, Decker Galleries, Baltimore, MD; Art Gallery of Ontario, Toronto; Art Gallery of
                      Windsor, Windsor, Ontario; Virginia Beach Center for the Arts, Virginia Beach, VA; Center
                      on Contemporary Art, Seattle, WA; Edmonton Art Gallery, Edmonton, Alberta; Laguna Art
                      Museum, Laguna Beach, CA; curated by Ralph Rugoff (catalogue)
             “Bring Your Own Walkman,” W139, Amsterdam; curated by Jack Jaeger (catalogue)
             “Hello” (with Dike Blair, Vincent Fecteau and Richard Hawkins), Feature Inc., New York
             “Flying Buttress Please,” Torch, Amsterdam
             “Twist” (with Jean-Philippe Antoine and Stephan Melzl), Galerie Ghislaine Hussenot, Paris

1996    “Acts of Obsession,” Carla Stellweg Gallery, New York
             “Invitational +,” Adam Baumgold Fine Art, New York

1995    “It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art,” Contemporary Arts
                      Center, Cincinnati, OH (catalogue)
             “Representational Drawings,” Feature Inc., New York
             “Strung into the Apollonian Dream...,” Feature Inc., New York
             “Smells Like Vinyl,” Roger Merians Gallery, New York; organized by Sarah Seager and
                      Thaddeus Strode
             “Stretch Out and Wait” (with Keith Mayerson and Megan Williams), Richard Telles Fine Art,                       Los Angeles
1994    “Lessons in Life: Photographic Works from the Boardroom Collection,” Art Institute of Chicago
             “Sex,” Adam Baumgold Fine Art, New York
             “Paintings,” Feature Inc., New York
             “Projets et Dessins,” Galerie Claire Burrus, Paris
             “Wood Works,” Adam Baumgold Fine Art, New York

1993    “Influx,” Gallery 400, University of Illinois at Chicago
             “les petits riens de la vie,” La Galerie Volée à Une Muse, Lyons, France
             “The Return of the Cadavre Exquis,” The Drawing Center, New York; Corcoran Gallery of Art,                       Washington, DC; Forum for Contemporary Art, St. Louis, MO; Fundación para el Arte                       Contemporáneo, Mexico City; Santa Monica Art Museum, Santa Monica, CA; curated by                       Ann Philbin and Ingrid Schaffner (catalogue)

1992    “Another Subjectivity,” Galerie Martina Detterer, Frankfurt am Main (catalogue)
             “Jori Felice, Richard Hawkins, B. Wurtz,” Roy Boyd Gallery, Santa Monica, CA
             “Tattoo Collection,” Galerie Jennifer Flay and Urbi et Orbi, Paris; Daniel Buchholz, Cologne;
                      Andrea Rosen Gallery, New York; Centre Regional d’Art Contemporain, Nantes, France;
                      Air de Paris, Nice, France; organized by Air de Paris and Urbi et Orbi

1991    “Objectionable Beauty,” Jan Kesner Gallery, Los Angeles
             “Rocking Horses for Children in Crisis,” Lorence-Monk Gallery, New York
             “Directly On and Off the Wall,” Palm Beach Community College Museum of Art, Lake Worth,
                      FL; curated by Kip Eagen

1990    “Work on Paper,” Paula Allen Gallery, New York
             “The Thing Itself,” Feature, New York
             “Perspectives on Place: Attitudes Towards the Built Environment,” University Art Gallery,
                      San Diego State University, San Diego, CA
             “The New School Collects: Recent Acquisitions,” Parsons School of Design, New York;
                      curated by Kathleen Goncharov

1989    Marta Cervera Gallery, New York
             “Buttinsky,” Feature, New York
             “Cinderella Rockefeller,” Feature, New York
             “Poetic Objectives,” Curt Marcus Gallery, New York; curated by Gordon VeneKlasen
             “Romancing the Stone,” Feature, New York
             “Dorothy,” Center for Contemporary Art, Chicago; curated by Hudson
             “Double Take,” Contemporary Arts Center, Cincinnati, OH

1988    “Photo Poetics,” Jack Shainman Gallery, Washington, DC
             “The Logic of Display,” P.S.1, The Institute for Art and Urban Resources, Long Island City, NY;
                      curated by Paul Laster and Renee Riccardo (catalogue)
             “Re:Placement,” Los Angeles Contemporary Exhibitions, Los Angeles, CA; curated by Joy                       Silverman and Marc Pally
             “A Visible Order,” Otis/Parsons Exhibition Center, Los Angeles; curated by Paul Laster and                       Renee Riccardo
             “Near Miss,” Feature, Chicago
             “Photography on the Edge,” Haggerty Museum of Art, Marquette University, Milwaukee, WI
                      (catalogue)
             “Information as Ornament,” Feature and Rezac Gallery, Chicago; curated by Hudson and
                      Susan Rezac (catalogue)
             “New Strategies,” Jan Kesner Gallery, Los Angeles; curated by Clayton Press and Gregory                       Linn (catalogue)

1987    “(of Ever-Ever Land i speak),” Stux Gallery, New York; curated by Christian Leigh (catalogue)
             “Small Scale Sculpture,” Atlanta College of Art Gallery, Atlanta (catalogue)
             “Actualities,” Ledis Flam Gallery, Brooklyn, NY (catalogue)
             “Signs of Intelligent Life,” Greathouse Gallery, New York
             Jan Baum Gallery, Los Angeles
             “Sculpture,” Bess Cutler Gallery, New York
             “Post-Abstract Abstraction,” Aldrich Museum of Contemporary Art, Ridgefield, CT; curated by                       Eugene Schwartz (catalogue)
             “Gallery Artists,” Bess Cutler Gallery, New York
             “Nature,” Feature, Chicago
             INTAR Latin American Gallery, New York, NY; curated by Hudson
             “CalArts: Skeptical Belief(s),” Renaissance Society at the University of Chicago; Newport                       Harbor Art Museum, Newport Beach, CA (catalogue)

1986    “Promises, Promises,” Feature, Chicago
             “Six Sculptors,” Artists Space, New York (catalogue)
             “Religion: Painting and Sculpture,” Tibor de Nagy Gallery, New York

1985    “Post Olympic Art,” Galerie Beau Lezard, Paris

1984    “Post Olympic Art,” Los Angeles Contemporary Exhibitions, Los Angeles (catalogue)

1981    “Lynne Henkel, B. Wurtz,” Los Angeles Contemporary Exhibitions, Los Angeles

Film

1989    “Films” (group screening), Christine Burgin Gallery, New York

1982    “B. Wurtz: Super-8 Film Presentation,” Beyond Baroque Literary/Art Center, Venice, CA

1981    Group screening (Super-8), Empty Space Theater, Santa Barbara, CA

1980    Group screening (Super-8), FILMEX (Los Angeles International Film Exposition), Los Angeles

Selected Bibliography

2007    Brooks, Amra. Review, LA Weekly, 17 January
             Clark, E. K., “Back to Basics,” NY Arts Magazine, January/February, (reproduction)
             Frank, Peter. “The Big Picture and the Small,” LA Weekly, 14 February;                                                          http://www.laweekly.com/art+books/art-pick/the-big-picture-and-the-small/15648/
             Knight, Christopher. “When Mere Gray Is More Than Gray,” Around the Galleries, Los Angeles                       Times, 20 April
             McQuaid, Cate, Boston Globe, Arts and Entertainment, 15 March
             Ollman, Leah. Around the Galleries, Los Angeles Times, 12 January, E32

2006    Andrews, Betsy. Review of “The Chair, Reconsidered,” Idaho Mountain Express, 14 June
             Baker, R. C. “Chicken and Eggs,” Village Voice, 13–19 September, 58
             Jones, Kristin M. Review of “Dereconstruction,” Frieze, October, 259
             Masters, H. G. Review, L Magazine, 30 August–12 September, 68
             McKinnon, John. Review, Time Out Chicago, 19–25 October
             Princenthal, Nancy. Review, Art in America, December
             Velasco, David. Review, Artforum.com, Critics’ Picks, 18 September,                                                                   http://www.artforum.com/archive/id=11736 (accessed September 21, 2006)
             Velasco, David. Review of “Dereconstruction,” Artforum, September, 374
             Winkleman, Edward. Artist of the Week, edwardwinkleman.blogspot.com,
                      http://edwardwinkleman.blogspot.com/2006/07/artist-of-week-071006.html (accessed 26                       July, 2006)
             Review, Art MoCo, 31 October, http://mocoloco.com/art/archives/003267.php#more                       (accessed 3 November, 2006)
             Update, Interior Design, June, 38 (reproduction)

2005    Cotter, Holland. “The Sun Rises in the Evening,” New York Times, 10 June, E44
             Hainley, Bruce. “Only Connect, The Art of B. Wurtz,” Artforum, October, 242–247                       (reproductions)

2004    White, Roger. Review, Brooklyn Rail, September, 17

2002    Olson, Marisa S. “Guide to Trust No. 2 at the Yerba Buena Center for the Arts,” Artweek, May

2001    Cotter, Holland. Review, New York Times, 14 December, E40
             Cotter, Holland, “Not a. Lear,” New York Times, 12 October, E37
             Grabner, Michelle. Review, Frieze, April, 96 (reproduction)
             McQuaid, Cate. “Everyday Epiphanies,” Boston Globe, 19 April, D6

2000    Johnson, Ken. Review, New York Times, 28 January, E37

1999    Boström, Patrik. Review, Västerbottens Folkblad, 15 March, 3
             Hainley, Bruce. “Best of the ’90s: 10 Top Tens,” Artforum, December, 130
             Ivy, Angus. “WOp: ANP Antwerp, Belgium,” Zingmagazine 3 (Spring/Summer), 230

1998    Hainley, Bruce. “Boys will be Boys,” Frieze, November/December, 42
             Schmerler, Sarah. Review, Time Out New York, 24 September–1 October, 61

1997    Cotter, Holland. “A Show That Could Travel In Just a Carry-On Bag” New York Times, 14                       December, E44–45
             Doran, Anne. Review, Time Out New York, 7 August, 47
             Kandel, Susan. Review, Los Angeles Times, 16 May, F21
             Madestrand, Bo. Review, Expressen, 7 January, 4 (reproduction)
             Peeters, Mark. Review, NRC Handelsblad, 17 January
             Rian, Jeff. “Letter from Paris,” Artnet.com, posted 24 March

1996    Ericsson, Lars O. Review, Dagens Nyheter, 20 December, B3 (reproduction)

1995    Levin, Kim. Village Voice, Choices, 28 March, 9

1993    Levin, Kim. Village Voice, Choices, 11 May, 75
             Princenthal, Nancy. “Artist’s Book Beat,” Print Collector’s Newsletter, March/April, 28
             Robinson, Walter. “Music to Your Eyes: CD Covers Play Tribute to Modern Masterpieces,”                       Mademoiselle, October, 102 (reproduction)
             Saltz, Jerry. “Mayday, Mayday, Mayday,” Art in America, September, 41–45
             Smith, Roberta. Review, New York Times, 14 May, C26
             Weidenbaum, Marc. “More Pictures + Music,” Pulse!, August, 17

1992    Pagel, David. Review, ArtIssues March/April, 34

1991    Goings On About Town, New Yorker, 29 April, 17
             Schjeldahl, Peter. “The Salon of April,” Village Voice, 14 May, 86
             Schwan, Gary. “On and Off-The-Wall Art,” Palm Beach Post, 5 April, 35

1990    Gutterman, Scott. “Natural and Unnatural Causes,” Art International, Autumn, 58 (reproduction)
             Harris, Patty. “Four Summer Art Shows,” Downtown, 29 August, 12–13 (reproduction)
             Smith, Roberta. “The Group Show as Crystal Ball,” New York Times, 6 July, C:1, 23

1989    Cooper, Dennis. Review, Artforum, Summer, 143 (reproduction)
             Haus, Mary. Review, ARTnews, December, 169–170
             Hixson, Kathryn. Review of “Dorothy,” Chicago in Review, Arts, November, 110

1988    Finnegan, Patrick. Review of “Photo Poetics,” Washington Blade, 1 April, 21
             Grundberg, Andy. “The Logic of Display,” New York Times, 29 January
             Knight, Christopher. “Re:Placement Parts: Alternative Galleries Break Down Walls,” Los                       Angeles Herald Examiner, 20 March, E10
             McCoy, Pat. Review of “(of Ever-Ever Land i speak),”Artscribe International, January/February, 73
             Raczka, Robert. “The Next Generation,” Afterimage, November, 20–21
             Richard, Paul. Review of “Photo Poetics,” Washington Post, 25 March
             Thorson, Alice. Review of “Photo Poetics,” Washington Times, 31 March

1987    Artner, Alan. Review, Chicago Tribune, 12 March, 9F
             Handy, Ellen. Review of “The Four Corners of Abstraction,” Arts, November, 108 –109
             Zimmer, William. “Post-Abstract Abstraction in Ridgefield,” New York Times, 5 July

1984    Drohojowska, Hunter. “An Exhibit to Lift Your Post-Olympic Spirits,” Los Angeles Herald                       Examiner, 7 September, 27
             Relyea, Lane. “Focus on Cultural Differences.” Artweek, 29 September, 6

1981    Ricky, Carrie. “Art Attack.” Art in America, May, 41–48

Selected Projects, Publications, and Reproductions of Artwork

2007    Untitled publication, no. 1 (Spring), Feature Inc., New York (reproductions)

2006    blocks, onestar press, Paris (artist's book)
             “Some Blocks,” Dinter Fine Art Project Room, March 1–April 30,                                                        http://www.dinterfineart.com/html/projectex.html (project archive)

2003    Waters, John, and Bruce Hainley. Art: A Sex Book, Thames and Hudson, New York, 115, 121,                       124, 135, 180

2000    “Chelsea,” Connaissance des Arts, November, 14–15 (reproduction of artwork)

1995    Hudson. “Stroboscopes,” Documents sur L’Art, no. 7 (spring), 9 (reproduction of artwork)

1993    L’Endroit Idéal (Ideal Place), edited by Eric Troncy, L’Ile du Roy, Centre d’Art et Jardin, Val de                       Reuil, France, 170–171 (artist’s project)

1992    Farm 5 (with Raymond Pettibon and Dodie Bellamy), Feature and Instituting Contemporary
                      Idea, New York

1989    LACE: 10 Years Documented, Joy Silverman, project director, LACE (Los Angeles
                      Contemporary Exhibitions), Los Angeles, 36, 55, 82 (reproductions of artwork)

1987    Farm 2 (Head Sex), Feature and Instituting Contemporary Idea, Chicago
                      (reproduction of artwork)

1986    Farm, Feature and Instituting Contemporary Idea, Chicago (reproduction of artwork)

Awards and Honoraria

1991    Artist and Homeless Collaborative, Park Avenue Women’s Shelter, New York (grant to make
                                 collaborative work with residents)
1984    National Endowment for the Arts, Honorarium (Post-Olympic Art)